DOI: 10.1283/fam/issn2039-0491/n51-2020/300 Laura Scala Malevič’s Victory Over the Sun: the Dissolution of Reality Abstract The scenography of Victory Over the Sun by Malevič (St. Petersburg, 1913) represents one of the best expressions of “total art”, combining al- lusions to the multi-dimensional Cubo-Futurist theatre with the experimen- tal music of Matjušin, and the transmental language of Kručënych. The new idea of space in Malevich’s drawings goes beyond ordinary human reason – symbolized by the Sun – and spreads to the world of dreams, fairy tales, rituals, and folk traditions. The theatre performance leads the spectators through a journey to a new world without the Sun, and so with- out order, directions, proportions and rules, where the most incredible objects float and dance together in space, as the free words of a transra- tional Kručënych’s composition. Keywords Montage — Design — Avant-garde theatre — Collage With the Black Square’s Suprematist icon, painted in the summer of 1915, Malevič brings us to a new world beyond reason. This transmen- tal journey, undertaken by the artist with the poet Kručënych and the painter-violinist Matjušin, is expressed in the zaum’ play The Victory Over the Sun, staged for the first time in St. Petersburg, in December 19131. The protagonists of this first Cubo-Futurist show, the last step towards Suprematism (Marzaduri, Rizzi and Battafarano 1991), are Su- permen who fight and kill the Sun, and reach the new world of the Tenth Lands. The Heliomachy, that is the victory over cosmic forces and the conquest of the stars, is the work’s leitmotif: a symbol of revolt against any imposition of the past. The space that Malevič aims at representing in the six sketches of Victory Over the Sun (Fig. 1) is hard to draw on paper, since it goes beyond reason. It looks as though the artist is striv- ing to capture a timeless place, which is made of the same substance as dreams and memories, and makes use of ancient and new languages taken from magic rites, Russian folklore, circus and cinema. This place, depicted in two dimensions, is so surreal, a-logical and boundless, that it would require a translation into a three-dimensional space in order to be understood. Therefore, starting from Malevič’s drawings, we tried to create three-dimensional models of them. Victory Over the Sun stems from the collaboration of Malevič, Kručënych and Matjušin, who met at the first congress of the Russian Bards of the Future, in Uusikirkko, Finland, in the summer of 1913. The congress man- ifesto, published in the newspapers of St. Petersburg and Moscow, pro- claims The New Theatre “Budetljanin”2 and its aim: L. Scala, Malevič’s Victory Over the Sun: the Dissolution of Reality 49 DOI: 10.1283/fam/issn2039-0491/n51-2020/300 Fig. 1 «the right to annihilate the outdated way of thinking of the laws of causality, of com- Kazimir Malevič, Pobeda Nad mon sense, of symmetrical logic, and to give a personal and creative version of the Solncem/ Victory Over the Sun, real world of new men; to attack the artistic weakness, the Russian theatre, and to radi- six sketches, pencil on paper, cally transform it. The Art Theatre, Korševskij, Aleksandrinskij, Bol’šoj and Malyj St. Petersburg State Museum of are all outdated». Theatre and Music Art, 1913. (Matjušin, Kručënych and Malevič, 1913, in Petrova e Di Pietrantonio 2015, p. 185 and following.) Malevič, Kručënych and Matjušin jointly sought new ways of understand- ing the world, going beyond the real world, the senses and reason, to reach another reality (Kručënych 1913), experimenting new forms of art, litera- ture and music. These three artists completely revolutionized the way of doing theatre through the analytical de-construction and the synthetic re- construction of the artistic substance. The Cubist pictorial compositional techniques go beyond the limits of art, moving from poetry to music and stage action. While the Budetljane painters dissected objects and parts of the body and sewed them together again with new meanings, the zaum’ writers cut the syntactic-semantic connections of texts and split the words into minimal pieces – syllables or letters – enhancing them in their inner phonic values, and then recomposing them in unimaginable combinations of the so called transmental language. In Victory Over the Sun, Kručënych put together not only individual frag- ments of action and scraps of dialogue, but also meaningless phonemes. These operations of disassembly, assembly and collage came from the Cubist sdvig. The sdvig practice involves the displacement of pictorial levels, abrupt transitions of compositional techniques and unexpected and apparently incompatible dimensional-figural relations and it is translated into Kručënych’s zaum’ language as unmotivated fractures of verbal seg- ments and random combinations of letters, syllables and units of mean- ing. The same feeling of nonsense had to be produced by illogical sound- connections from Matjušin’s music and by the graceless movements of the “actors-figurines” on the scene, designed by Malevič. Words and music follow the flow of painting, leaving the burdens of the past and freeing the creative act from unnecessary weights. Logic has always hindered new movements of the subconscious and, in order to free it from prejudices, the current of a-logisim has been promoted (Malevič, 1919). In his letter to Matjušin, June 1916, Malevič encourages his friend to free the letter from the line, and to give it the opportunity to move freely. These groups of let- ters will hover in space and will give us the opportunity to move further and further away from earth3. Malevič sketched six three-dimensional scenic boxes (Fig. 1), which al- lude to a pyramid trunk – whose main base faces the spectators – or to a cube, seen in central perspective. All his sketches refer to the square and are drawn on a square. Moreover, the observer is ideally “closed” inside a L. Scala, Malevič’s Victory Over the Sun: the Dissolution of Reality 50 DOI: 10.1283/fam/issn2039-0491/n51-2020/300 cube that is composed of five squares in depth and the sixth square is hypo- thetically placed behind the spectators. The backdrop is a construction of rooms, inside a room, a multiplication of mirrors, a kaleidoscope of worlds that open wide towards the eyes of the spectator: each face is a projection on the new world (Michelangeli 2000). In all the six sketches, many dark shapes are contained in white spaces, in a climax that leads to the victory over the Sun and the arrival in the Tenth Lands: the static figure of the square contains the dynamic of the story. The objects – more or less filled with black colour – of incongruous dimen- sions, proportions, and semantic fields, torn from their own reality, invade the stage-box and confuse the spectator. The clash of these objects gives life to the new world beyond reason, some of them such as the hat, the spoon and the stairs, are figurative archetypes, that are also present in other Malevič’s works (for example: Englishman in Moscow, Stedelijk Museum di Amsterdam, 1914). (Fig. 2) Malevič acts as a director of a dream or of a child’s memory and puts to- gether the chimneys, the stairs, the sickle, the wheel of the factory world, with the violins, the musical notes, the organ pipes, the trumpet, which allude to Matjušin’s cacophony. A classic capital, numbers, letters, cir- cles, black triangles, planetary systems and the first Suprematist elements are bundled up inside the six white squares, as free a-logic words in a Kručënych text; finally, images that materialize or dissolve in the white space. In these sketches, the space, or emptiness or «white», declares it- self through the objects that it contains, which are the full «black» shapes. These elements, topologically placed towards the observer, float dancing within and beyond the three-dimensional boundaries, traced by Malevič, recalling the «literal and phenomenal transparency» of Rowe and Sluzky (Rowe and Sluzky 1963, 45-54). The observer is brought into a universe where he has the simultaneous perception of different levels, figures, times and worlds. The white background expands among the objects and goes beyond the limits of reason. The white, that is the absolute and the perfec- tion to which we aspire, is in contrast with the black, that is the concrete- ness of those everyday objects that break into the Cubo-Futurist scene, until the Black Square in the Fifth Scene takes over, destroying the white and the traditional Enlightenment values of reason. «At the end of Scene V, the dark square descends into the square of the stage, first it’s like a curtain Fig. 2 that lowers on the diagonal, then an eyelid that closes.» (Semerani 2012, Kazimir Malevič, Englishman in Moscow, painting, Stedelijk Mu- 28, personal translation). Malevič seems to understand the whole universe, seum, Amsterdam, 1914. he is aware that the opposites interpenetrate each other until they finally find themselves into another order. We reach the Tenth Lands through the six Scenes designed by Malevič. The new Cubo-Futurist space is perceived through an investigation by fig- ural isolations, identifying full and empty spaces, through the reconstruc- tion of three-dimensional models that reproduce the stage-box, our field of action. In each sketch, which is built as a cube seen in perspective, we can analyse the shape, the size and the topology of the dark elements inside the square, which direct the gaze of the observer, between compressions and extensions of perceptions, according to laws of attraction and repul- sion between the shapes. The sketches’ compositional analysis through the model thus becomes a tool to explore the elements and the relationships that exist between them within the field of action.